這本圖文都好. 當然對於社會的互動力說法頗弱
由於孫全文的譯只有人名索引而已
諸如IIT的校園之設計就分成兩處.在材料創新.
Jürgen Joedicke《近代建築史》A history of modern architecture ( 1959 )孫全文譯 台北:臺隆書店，1974
Table of contents
The first page of every section is available free to non-members – click a section heading to start reading now!- Title Page 3
- Contents 5
- Introduction 9
-
The nineteenth century, so rich in important works of music and painting, the
great age of the novel and of lyric poetry, developed no characteristic art forms in
spatial composition and planning. It was an epoch without a building style of
its own. Self-confident reliance on the architectural forms of the past concealed
an inner uncertainty. The past had become a store-house for hasty resurrections
of every style, for the pseudo-Gothic and the neoromantic, for "renaissances of
the renaissance" and resuscitations of Baroque and Rococo, to be plundered
without restraint and often enough without any comprehension of the circumstances which had given rise to these particular forms. For religious structures
Romanesque and Gothic models were preferred, for bank buildings Doric and Ionic
columns were chosen to indicate stability and the dignity of wealth, and in the
building of town halls middle-class vanity found expression in reminiscences of
Late Gothic and Renaissance days, the golden age of towns. Even the ordinary
middle-class home could not escape the carnival of styles and masqueraded in
clothes borrowed from the Renaissance villas of the Florentine, Roman and
Venetian nobility.
1. Water works, Hanover, about 1900. Negation of function. Industrial building in historical trappings.2. Walter Gropius and Adolf Meyer. Fagus Works, Alfeld an der Leine, 1911-16. New aesthetic conception: the work space is light and appropriate to its purpose.But even among followers of the cult of historical pageantry there were important architects like Semper and Viollet-le-Duc who stood head and shoulders above the sycophantic mannerists with their pattern books. There were architects who tried to speak a language of their own, even if they used the grammar and vocabulary of the past, but for the most part their efforts were condemned to failure. The intellectual revolutions and social upheavals which had taken place in the meantime could no longer find a response in concepts which were based entirely on traditional ideas of architecture.The tasks which confronted nineteenth-century architecture, and which continued unsolved into our century, were unmatched in variety and magnitude. About 1800, with the onset of the industrial revolution, there occurred a rapid increase in population. Within 130 years the number of inhabitants in England rose from 9 to 45 million, in Germany from 24 to 66, and in the USA from 5 to 123. Simultaneously the proportionate distribution of town and country dwellers altered. In 1871 64 out of 100 Germans still lived in the country and 5 in cities, but by 1933 there were only 33 in the country to 30 in cities. London underwent an eigthfold expansion in 150 years, while Paris increased two-and-a-half times in half a century. The rise in population only affected towns.-9- - The Age of the Pioneers 13
-
There appears to be a secret connection between the notions of form characl
teristic of each period and the means at its disposal. The age of every historica-
style, in pursuit of its own particular brand of expression, found the material
which suited its wishes. Until our day, however, the choice of materials available
for building was confined to natural substances: freestone of various kinds from
hard granite to sandstone, soft and easy to work, the material from which the
Gothic master-masons carved the delicate arabesques of the cathedrals of the
middle ages: timber, which in its material characteristics is similar to the substances which we employ for building to-day -- and clay used in the form of dried
and baked bricks. The baking of clay already indicates an attempt to alter the
inherent qualities of a building material. But only in our time did the really
significant change occur. With iron and reinforced concrete1 new constructional
materials were introduced into architecture which, in their technical properties
as materials, in their high degree of strength and in their structural possibilities,
differed fundamentally from conventional natural materials. They can be
described as artificial, since a highly developed industry is needed for their production. In them the architecture of our day has found the means of realising its
ambitions.
6. Noyon cathedral, begun about 1150. Section from below. Vaulted construction of the Gothic cathedral with stresses carried by arches and flying buttresses, in contrast to the post-and- beam method of Greek temples. In Gothic buildings the system of buttresses and columns bears the load; walls are glass.5. Acropolis, Athens. Parthenon, 447-437 B. C. The Greek temple -- starting point and model for centuries of Western building tradition.The first appearance of iron as a building material occurred at a time of general decline in creative inspiration. So it was only natural that a tremendous impetus towards a future architectural style was seen in this new building material. "An appropriate architecture will arise immediately when use is made of the means which the new industrial techniques offer. The application of iron permits and demands many new forms, as can be seen in railway stations, suspension bridges, and the arches of conservatories."2 ( Théophile Gautier, 1850).At first these hopes were not to be fulfilled. The use of a new kind of building material only contains a potentially new structural language if theories of form and constructional possibilities are complementary and interrelated. In the first half of the nineteenth century and even in the later decades this was not yet the case. Moreover iron only became a highly valuable building material, economically and structurally, as we know it to-day, in the second half of the last century,____________________-13-Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information: Book title: A History of Modern Architecture. Contributors: Jürgen Joedicke - Author. Publisher: Frederick A. Praeger. Place of publication: New York. Publication year: 1959. Page number: 13
- Masters of Modern Architecture 67
- Walter GropiusWalter Gropius, born on 18 May 1883, belongs like Le Corbusier and Mies van der Rohe to the generation who absorbed the knowledge of the pioneers, and created the architecture of our time31. Working in the office of Behrens, Gropius became familiar with the elements of modern architecture, but he reacted against the superimposed monumentality which, in his later years, led Behrens ever further away from the principles of modern architectural form.In 1911 Gropius began the building of the Fagus Works in Alfeld/Leine [113, 114], where he had had the rare good fortune to find a client whose views coincided with his own. A preliminary scheme on traditional lines had already been put forward, but Karl Benscheidt, who owned the Fagus factory, wanted to put up a building which reflected modern thinking. It so happened that he knew Gropius, whose proposals pleased him so much that he gave him the job. In his plan Gropius preserved the essence of the original scheme, but his individual approach and treatment of the elevations were completely new.In contrast to the Turbine shop by Behrens (three-hinged steel arches) and Sullivan's department store, for the Carson, Pirie Scott Co. (steel frame), Gropius did not use a new structural system. The office block of the Fagus Works is built (much in accordance with centuries-old structural methods) of masonry with columns in front and a load-bearing wall at the back.32 Only for the floors are steel beams used. The novelty lies in the conception of form, the free-standing nature of the external wall between the columns demonstrating aesthetically that it is composed of a thin sheath hung from a steel framework. The glazing bars serve no structural purpose, but merely hold the glass and panels in place. Gropius has succeeded here in creating a new and enduring form for industrial building and at the same time anticipated a discovery which, as the curtain wall, has become one of the most important formal elements in the multi-storey block. The Fagus Works exemplifies that the fundamental impetus of modern architecture did not only come from novel structural systems, but just as often, and to a decisive extent, from particular conceptions of form.Moreover the absence of support at the corners of the office building springs less from structural considerations than from an instinctively correct interpretation of113/114. Walter Gropius and Adolf Meyer. Fagus Works, Alfeld/Leine. 1911-16. The stanchions are located inside, the walls consisting largely of a transparent glass skin. Behrens concentrated massive masonry at the corners [97]. Gropius avoids even slender corner supports. A daring architect and an understanding client created a light and elegant building.-67-Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information: Book title: A History of Modern Architecture. Contributors: Jürgen Joedicke - Author. Publisher: Frederick A. Praeger. Place of publication: New York. Publication year: 1959. Page number: 67 - Extension and Development 99
- Extension and DevelopmentAccentuation of formal elements -- Do StijlThe development of a new language of form is an all-embracing intellectual process, in which creative forces in the most varied fields fashion the elements of the coming style, often independently of one another. Thus it was that the fundamental inspiration in architecture at the beginning of the twentieth century came from painters and sculptors, a decisive factor being the emergence of a new vision which can be detected first in the work of Paul Cézanne. The representation of space in perspective is superseded by a way of looking at an object from, so to speak, different points at the same time. Cubism, as development by Picasso and Braque about 1908, dissected the outward semblance of nature into individual elements and represented them one after the other on a flat surface. "It goes round objects and penetrates into them; so, to the three dimensions which defined space for the Renaissance (length, breadth and height) is added in our century a fourth: time"45.
Translated into architecture this means that the room, regarded uniquely from one point of view, as separated from the outside by walls, is replaced by a complex of interpenetrating masses. The room is no longer defined by its four walls but by the relationship of solid objects and free-standing dividing elements. The tacit agreement over the methods and purposes of our time is not least displayed in the opportunity offered on the structural side, by the introduction of the steel and reinforced concrete frame, to realise spatial forms of this sort.165. Piet Mondrian. Large composition with red, blue and yellow, 1928.
166. Georges Vantongerloo. Composition, 1919.Moreover, similarities of form can be recognized which are the expression of a similar desire to discover the elements of a new architecture by a reduction to the simplest essentials. As early as 1910 Adolf Loos built the Steiner house in Vienna [75], which in its exclusive concern for stereometric forms offers a parallel to contemporary movements in painting -- in Cubism and especially in the activities of the "De Stijl" group in Holland later. "Cubes, cones, spheres, cylinders or pyramids", Le Corbusier expounds theories already laid down by Cézanne, "are the great primary forms. . . . The image of these is distinct and tangible within us and without ambiguity. It is for that reason that these are beautiful forms, the most beautiful forms"46. Similarly in the declarations of "De Stijl" the demand is constantly reiterated for architecture to free itself from the-99-Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information: Book title: A History of Modern Architecture. Contributors: Jürgen Joedicke - Author. Publisher: Frederick A. Praeger. Place of publication: New York. Publication year: 1959. Page number: 99 - The Contributions of the Nations 153
- Although so many lands nowadays acknowledge modern architecture, internationalism has not led to uniformity. The architecture of individual countries 61 has preserved original features in its outstanding architectural creations, deriving distinctive expression from regional and climatic conditions and the varying needs and emotions of mankind. Scandinavian architecture differs from Italian just as clearly as North-American from South-American.
- Notes 238
- Index 241
- Sources of Illustrations 243
蜉蝣建築 Mayfly Architecture
- 作者：登琨豔/著
- 原文作者：Deng Kunyan
- 出版社：木馬文化
- 出版日期：2004年
- 在設計的領域裡，建築一向予人厚重、呆板、遲緩的侷限感，不僅工期曠日費時、且盤據空間往往極為龐大，所以幾乎蓋了就成了永久建物，很少有所謂的
「實驗建築」。走紅兩岸的名設計師登琨艷，卻因為出身特異，再加上因緣際會，因此得以在建築師的盛年時期，玩些「儀禮空間」的生活美學遊戲。他以「蜉蝣」
飄泊、短暫的生命，自況多年跨足建築、室內設計、文學藝術各領域妾身未明的傳奇境遇，也借以比擬他近年來在台北、上海陸續發表、無法歸類的臨時性環境藝術
作品。 「蜉蝣建築」系列是登琨艷九○年代之後陸續完成的「臨時性空間」作品，雖然在此之前，「臨時性空間」早已在台灣發展多年，但是認真將其視為藝術創作，甚至建築創作，並且盡心盡力充分發揮其原創精神的，則非登琨艷莫屬，而這也正是他與眾不同之處。
一直以來，登琨艷始終關注空間裡人的各式活動，包括婚喪喜慶等社會禮俗背後所透顯的空間美學意涵，他將這些空間統稱作「儀禮空間」。也因此，他的空間常 摻和著濃厚的人文氣息，有對過去的記憶留戀，也有瞄向未來的大膽實驗；這些元素不但蘊含了具體的生活內容、歷史痕跡、故事與傳說，也帶著背叛與顛覆，並且 全搓揉成了他空間裡的心事。
以時間的縱深思考，倘使永恆真是從蜉蝣朝生暮死的短暫生命領悟而來，那麼登琨艷的「蜉蝣建築」也在這消費浮 光掠影的都會，使人剎那間以為是永恆之作。從空間的幅遼眺望，在台北，在上海，登琨艷兩地奔走，他的「蜉蝣建築」也在不知不覺間游移、跨越了地域的界分， 並且變得輕靈、機動，無法無天了起來。
敢玩者如登琨艷，其實顛覆了「儀禮空間」，也顛覆了「建築」。
名設計師登琨艷在台灣出版的第一部作品集
作者簡介
登琨豔，學農出身，師從漢寶德先生三十年。身形雖小，卻頂著三丈盛名，縱橫台灣時尚名流圈，無入而不自得；性情溫文儒雅，然舉止大膽創新，骨子裡卻又是 最道地的中國傳統文人。友人眼中，登琨艷是台北最前衛的流行象徵之一，每隔一段時間，就會發出不同的流行訊號。這位台灣建築界的傳奇人物，八○年代即以 「舊情綿綿咖啡館」和「現代啟示錄啤酒屋」兩把時代之火，點燃整個台灣新建築時尚空間的戰火，不僅燒火了台北和全台灣，也燒火了「登琨艷」這個特異的名 字。
九○年代初期，登琨艷瀟灑揮別了聲名正如日中天的台灣時尚圈和建築界，選擇浪跡天涯，放空一切；爾後，他決定隱遁封閉的中國，蟄居沉潛上 海至今十餘載，竟也深深愛上了這文化母國之流行大城。作風向來特立獨行的他，每回出手必定引來台北、上海兩地的高度關注；如今走紅兩岸、馳名美日，半百之 年所淬練的藝術成就，讓他逐步趨近世界級建築師的遠大目標。2004年，他終於決定在台灣出版第一部作品集，這個決定，總算讓他對三十年師門苦學、台灣建 築界、還有他個人，都有了明確的回應與交代，甚至對玩心甚重的他而言，這只不過是個起點罷了。
琨艷年表 - 1951年出生於高雄。
- 1971年畢業於屏東農專。
- 1975年前往東海大學建築系旁聽，師從著名建築文化學者漢寶德先生，協助完成許多著名建築。
- 1984年成立個人設計工作室，並先後開設「舊情綿綿咖啡館」和「現代啟示錄啤酒館」，被譽為台北最具特色與新意的建築，揭開台灣後現代的都市生活空間革命，之後陸續發表設計作品，並參與公共藝術規劃。
- 1990年起，一半時間隱居上海往來兩岸。
- 1998年正式成立「上海大樣建築設計工作室」， 旋即以蘇州河畔倉庫改裝的工作室引領上海的SOHO藝術工作特區風潮，甚而影響上海蘇州河整治計畫的文化景觀思考；目前專注從事規劃建築、室內、景觀、公共藝術設計工作。
- 董陽孜書法展
DongYangZi Painting And Calligraphy Show 1997 - 時報千禧文人春敘圖
Taipei China Times Group Party 2000 - 掀起新娘的紅面紗
Taipei Wedding Party 2001 - 亞太廣告開幕酒會
Taipei Advertisement Conference In Asian-Pacific Party 2001 - 虛擬幻現的夢境花園婚禮
Taipei Dream Wedding 2002 - 素雅莊嚴的告別
Taipei Elegant Funeral 2002 - 總統府慈善音樂會
Taipei Benevolent Concert in President Hall 2002 - 昨夜雲門竹夢上海夜宴圖
Shanghai Cloud Gate Party 2002 - 春到阿拉屋裡廂
Shanghai Spring Comes To The House Party 2003 - 上海房產展的空間遊戲
Shanghai Estate Promotion Show 2003 - 上海時尚都市進行式
Shanghai Vision Magazine Party 2003 - 花月亮的中秋
Shanghai Chinese Moon Festival Party 2003 - 湯氏祖孫合慶百歲生日筵席
A Century Birthday Celebration For Messrs Tangs 2004 - 泥菩薩當然可以過江
Mud Bodhisattva Passed The River 2004
序
登琨豔
建築的投資金額一般都不小，且設計建造耗時太長，再加上佔據空間一般都很大，所以幾乎蓋了就蓋了，成了一件永久工程。所以一般來說，業主和建築師都極為
嚴肅，也因此，建築就相對沒有其他藝術創作來得自由與隨意，這也是所有具有創作夢想的建築師都有的遺憾與苦惱；所以，也幾乎聽不到看不到有所謂「實驗性的
建築」。當然，有時候也會有些例外的。
我個人因為出身背景特異，又因為機緣的關係，承蒙很多長輩與朋友抬愛，讓我在 不太有建築設計工作機會的建築師成長精壯年歲，得以玩耍一些儀禮生活美學的空間遊戲﹔玩著玩著，卻也意外地累積出了一點小小的成績，不好說它們是作品，卻 因為這些都算是比較慎重講究的儀禮空間，且充滿了實驗性，充滿了不定位性，因此讓很多朋友對我充滿了好奇與傳說。經常有出版社來遊說我整理集結出書，只是 我老覺得這些遊戲之作，相對於我個人真正的本事來說，根本就算不上什麼設計，哪能算是作品，所以一直就沒當它是一回事。
只是到了今天， 自己已經到了就要五十五歲的建築師該有的成熟年紀了，都還沒有機會把我想要的建築蓋出來。尤其是在全中國一片大工地的大地上，我人又是在最繁華開發的上海 混了十幾年了，並且還身負一點點莫名其妙的虛名，卻沒有真正的建築作品矗立在這塊土地上，可以見人，我的心真是開始有點慌了。我最不喜歡人家把我當成室內 設計師，這實在是太小看我了，或者這根本就是污辱了我的師門，所以推來推去，拖到今天，只好半推半就地把出版問題交給了老友──台灣《室內雜誌》的總編輯 黃湘娟，我相信她。
我自己為這本集子取個書名叫《蜉蝣建築》。之所以選用「蜉蝣」一辭，實在是因為我也沒什麼本事找到更貼切的字眼，來 描述和解釋這些被認為無法分類歸位的造型環境藝術品種﹔另一方面，實在是因為不甘心被人家叫成室內設計師，所以才一定要加上「建築」兩字，希望不要因此得 罪建築界或從事室內設計工作的人士。
蜉蝣，是一種誕生在水裡的生物，可是牠一出生就浮出水面，終其一生短短的十幾個小時，從天未亮的拂 曉清晨到天黑，牠就沒再入水，在水下待過。牠長了翅膀，但是牠從來就沒飛過﹔牠有六隻腳，但是牠從來沒到陸地上行走過，只是隨風飄來飄去，就能混一輩子， 這夠特殊了吧！這太像我了，啥都是，又啥都不是。我出身學農，師從台灣最好、最嚴謹的建築師門，做了超過三十年的建築設計工作，卻遺憾連與我同輩的建築大 學者們都不認為我是建築師。做了一大堆算是很露臉的室內設計工作，花樣也不算少，甚至直跨越三個風格變遷的世代，但還是不被兩岸的室內設計協會算數﹔也曾 在重要報章雜誌寫專欄散文幾十萬字，卻似乎沒人當我是作家。其他我被強迫跨足的亂七八糟的藝術美學領域的工作，多得自己都羞得不好起齒承認，可是還是有很 多不識相的人喜歡對我特別抬愛，讓很多有大成就的專業人士眼紅。我必須表白，那些都不是我故意惹起的，我是無辜的、被迫的，我的夢想只是想做個專業的建築 設計人員，只可惜都就將五十五年歲了，還是一事無成。有時候還真是有點怨呢。
今天，只好同意集結這些對我來說只能算是雕蟲小技的無法定位的小把戲來充充數，好歹也被人家叫大師叫了都快二十年了嘛。說來還真是慚愧，夠諷刺的。
將這些遊戲之作比做是「蜉蝣」、且還能舞文弄墨的我，自認為應該算是很對位的。因為要說它們是「建築」，我個人是認為絕對可以掛得上號的，因為它們具有 所有的建築設計的元素，哪個建築師敢在我面前說不是，我一定悉聽指教。說它們是「室內設計」，一定可以算是，可是卻一定有人認為它了不起只能算是室內佈置 ﹔這一點如果有人有意見，我是有勇氣攤出來讓大家討論的，那要怎麼樣的東西才能叫做室內設計呢？我也有自己的說法。又如果我說，這些生活小花樣是「裝置藝 術」，我猜想所有搞美術的人一定群起圍剿我，認為我侮辱了他們﹔可是我有時候確實是以裝置的觀點來思考的，因為這些小小儀禮空間的佈置生命實在太短暫了， 頂多是一天兩天，有的還僅僅只有兩個小時，有時候連攝影師都來不及拍照留下記錄，就被迫給拆了。可憐啊，我這麼用心，它的生命怎麼卻都這麼短暫，說沒了就 沒了。所以，它不是生命如蜉蝣，那該怎麼描述它呢。
所以，咬文嚼字的結果，我決定給它一個名字，叫做「蜉蝣建築」，我自己有點滿意了。
其實，說來說去，這些可以算做是生活美術的空間遊戲，在我們的傳統裡，是應該歸類為儀禮空間佈置的基本美術勞作的。這麼簡單的生活美術，還能叫做「藝術」嗎？我認為「美術」都嫌誇張了，充其量只能算是「民間工藝」而已吧。很小的時候，我就被教會這些生活花樣。
感謝有人認為這些我生命旅程的酬酢工作也算做是設計，否則這些耗掉我自己多少精力與錢財的的工作，不就太沒面子了嗎？很可惜的是，有幾場我認為很又記錄 價值的這類儀禮空間設計佈置的場景，都沒有好好做記錄，實在是因為我自己也太不認為這些生活遊戲有什麼存留價值。唉呀！今天想來，還真是覺得有點可惜。這 些人生的額外成果，卻成為我個人所謂設計作品的第一本集子，真嘲諷，人算真是不如天算哪。
感謝這些看得起我的長輩與朋友，讓我玩耍這些生活美學的遊戲，還讓我拍照留念，否則，我還真不知道我自己夢想的建築作品要等到哪一天才能出版呢，我有點急了。
